The paradoxical equilibrium between the static and the fluid
The British studio PATTERNITY has been inspired by the patterns in nature to create Liquid, a Dekton series that merges the static of stone with the liquid movement of nature.
Sometimes, a deep observation of nature is all we need to find new stories that remain untold. Nature’s processes determine everything. It even determines our personality and our place in the world.
Anna Murray and Grace Winteringham, founders of the London studio PATTERNITY, have long been inspired by the observation of forms and movements of nature and have channeled the geometry of life towards the material: the creation of patterns.
“My favorite pattern is the spiral,” says Anna Murray. “You can find it in a seed that is beginning to sprout, in the crown of a baby, or in the shape of the Milky Way. I think it says a lot about how life is interrelated and interconnected.”
Anna and Grace cite Carl Sagan and Richard Attenborough, two of the greatest naturalists, as deep influences on their work. It is through their example that they have developed an acute eye for studying the marvels of nature.
They also mention places like the Inhotim sculptures in the Brazilian jungle, or the Jameos del Agua, by César Manrique, at Lanzarote (Canary Islands) as towering examples of humans ability to blend nature with man made ingenuity.
It is through patterns observed in the natural world that the British designers have built their practice, deeply inspired by the movement of liquid and forms.
An approach that has become the backbone of Liquid, a spectacular Dekton series that is part of The Collection 2020. “The idea was to portray our philosophy in the Cosentino brand, to apply our way of viewing the world to its surfaces. We work with visual motifs and patterns and there’s always an underlying meaning or a message in the patterns we create,” says Grace Winteringham.
“The idea was to portray our philosophy in the Cosentino brand, to apply our way of viewing the world to its surfaces.”
“We live in such static and solid surroundings that we’re attracted by the patterns that emerge from things that move and flow, that are constantly changing. Whether it’s the sky, the water or the waves, I love it to be that way, and not always the same.” Based on this, PATTERNITY has created the three colors in the Dekton series.
Liquid Sky is an allegory of the meeting of liquids, of the physical principles that govern these interactions. A homage to the circular energy and perpetual motion that is expressed through the elegant gray veining.
Liquid Shell is a sober off-white tone that su·ests the cyclical nature of the sea, the rhythm inherent in nature. Just another pattern, after all. Liquid Shell is the constant movement of the tides, of the moon, of life.
Liquid Embers is the convergence of fire, rock and fluid. A metaphor of what lies beneath our feet, of the magma and the uncontrollable power of the volcanic.
These three concepts represent a brave standing for the importance of nature and sustainability, something that was essential for PATTERNITY to be able to find the inspiration and comfort necessary to work on the project that was proposed by Cosentino. “We began with something we were interested in exploring. Then we saw how it was expanding toward sustainability and, in the end, everything turned into a tangible product. Now we’re beginning to see it in magazines and photo shoots and people are starting to have it in their homes. It’s impressive to see that whole journey unfold.”
``We work with visual motifs and patterns and there’s always an underlying meaning or a message in the patterns we create.``